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| A baul performance in progress |
The
eastern region of Bengal has long had a history of syncretic music
that finds its metaphors in a direct and not ritualistic connection
to god. Such spiritual meanings have been articulated by
singer-performers across the region for several centuries now. Both
the mystic faquirs and
the itinerant Bauls are examples of this as their music and
allegorical stories transcend the limitations of orthodox and
ritualized religion.
Disorder,
restlessness and madness are a few of the meanings associated with
the word Baul. Such meanings are both prescribed by structures of
doctrinal Vaishnavite Hindu religion as well as self-defined by the
Baul. It is through an attack against the hierarchical and dominating
Vaishnavism [Hindu order with ritual worship of the god Vishnu] that
such music and spirituality articulate themselves and hence, often,
are seen as deviant and ‘mad’. In many ways, the Bauls have
eluded the prescribed order through the content of their music and
often their lifestyles.
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| An artist's rendition of Lalon Phokir |
Today,
Baul music is quite popular as many artists are experimenting with
its forms and content. It is now a genre that permeates the living
rooms of many folk enthusiasts across the world. I might not be wrong
in saying that the famous nineteenth century Baul, Lalon Phokir who
was known in the narrow roads and along the banks of rivers across
hundreds of villages in rural Bengal would find it hard to identify
with Baul singers of the present day. Today, they regularly record in
studios and feature on television and radios. But for all these
changes, one must credit the Baul music for maintaining its inherent
message and its perceived worldview.
Baul
music is distinct in its lyrical content which is avowedly against
dominant norms. Largely addressed to a divine presence, Baul songs
describe the disjunction between man and spirituality. Declarations
of love are a common feature of Baul lyrics, thus persistently
disregarding caste hierarchies and religious differences. Influenced
by the Bhakti and Sufi movements, Baul music is a unique expression
of a quest for spiritual fulfillment through love.
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| Rabindranath Tagore (right) was one of the first people to translate Baul lyrics to English |
Interestingly,
it was not until the nineteenth century that the lyrics of Baul songs
were actually written down as opposed to the practice of orally
transmitting songs. In the early decades of the twentieth century,
Nobel laureate Rabindranath Tagore translated many Baul songs into
English and described Bauls in his speeches across Europe as an
essential component of rustic Bengal uncorrupted by the influences of
colonial modernity.
Just
like the vagueness surrounding their origin, the lack of the recorded
presence of their music is often regarded as a political choice on
the part of Bauls. A fascinating culmination of knowledge passed
orally through centuries and sharp political articulations of
identities in nineteenth century colonial Bengal, Baul music is a
subversive, rustic and peripatetic existence.
A Baul
can be spotted in his/her saffron robe with long hair tied in a bun
on the top of the head and carrying Gopiyantro
or Ektara which is an
instrument with one string, sometimes in conjunction with a dugi
(kettle drum) tied around their waste. Ghungur,
doatara and kortal
are other commonly used instruments. Baul music is found in present
day Bangladesh as well as the Indian state of West Bengal, displaying
a characteristic disregard for man-made boundaries.
There
are a few organized festivals that celebrate the poetry and music of
Baul, which are held annually in Bengal. Poush
Mela, an annual three day festival held in
Shantiniketan in the Birbhum district of West Bengal is an event that
attracts the largest number of Bauls. It is held at the start of the
month of Poush
according to Bengali calendar (third week of December) and marks the
establishment of the Brahmo religion. Another large annual gathering
of Bauls occurs in Joydev Kenduli
which is regarded as the birth place of poet Jayadeva and coincides
with Makar Sankranti
which marks the beginning of winter harvest and is considered
auspicious. The last one is the Ghoshpara
festival in the 24 Parganas district in March-April which coincides
with the birth anniversary of Lord Krishna.
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| A performance at the Baul Fakir Utsav |
Over
time, more urban audiences have flocked to annual shows held in
Kolkata city such as the Baul Fakir Utsav
where Bauls from different districts of Bengal and Bangladesh come to
perform. It usually goes on for 48 hours and
offers those, who do not seek to travel to rural events, an
experience of folk and mystical music right in the heart of urban
landscape. The more famous Baul singers of today include Purno
Chandra Das , Jotin Das Baul , Sanatan Das Thakur Baul and Parvathi
Baul but the list is gradually and progressively increasing.
